1 @c -*- coding: utf-8; mode: texinfo; -*-
2 @c This file is part of lilypond.tely
4 @c A menu is needed before every deeper *section nesting of @node's; run
5 @c M-x texinfo-all-menus-update
6 @c to automatically fill in these menus before saving changes
9 @node Advanced notation
10 @chapter Advanced notation
12 This chapter deals with rarely-used and advanced notation.
18 * Contemporary notation::
20 * Automatic notation::
28 This section explains how to include text (with various formatting) in
38 * Overview of text markup commands::
45 @subsection Text scripts
48 @cindex text items, non-empty
49 @cindex non-empty texts
51 It is possible to place arbitrary strings of text or @ref{Text markup}
52 above or below notes by using a string @code{c^"text"}. By default,
53 these indications do not influence the note spacing, but by using the
54 command @code{\fatText}, the widths will be taken into account
56 @lilypond[quote,fragment,ragged-right,verbatim,relative=1]
57 c4^"longtext" \fatText c4_"longlongtext" c4
60 More complex formatting may also be added to a note by using the
62 @lilypond[fragment,ragged-right,verbatim,quote]
63 c'4^\markup { bla \bold bla }
66 The @code{\markup} is described in more detail in
72 @cindex @code{\fatText}
74 @cindex @code{\emptyText}
80 Checking to make sure that text scripts and lyrics are within the margins is a relatively large computational task. To speed up processing, lilypond does not perform such calculations by default; to enable it, use
83 \override Score.PaperColumn #'keep-inside-line = ##t
89 In this manual: @ref{Text markup}.
91 Program reference: @internalsref{TextScript}.
95 @subsection Text spanners
99 Some performance indications, e.g., @i{rallentando} or @i{accelerando},
100 are written as text and are extended over many measures with dotted
101 lines. Such texts are created using text spanners; attach
102 @code{\startTextSpan} and @code{\stopTextSpan} to the first and last
103 notes of the spanner.
105 The string to be printed, as well as the style, is set through object
108 @lilypond[quote,ragged-right,fragment,relative=1,verbatim]
111 \override TextSpanner #'edge-text = #'("rall " . "")
112 c2\startTextSpan b c\stopTextSpan a
115 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
116 c2\startTextSpan b c\stopTextSpan a
121 @cindex textSpannerUp
122 @code{textSpannerUp},
123 @cindex textSpannerDown
124 @code{textSpannerDown},
125 @cindex textSpannerNeutral
126 @code{textSpannerNeutral}.
131 Program reference: @internalsref{TextSpanner}.
133 Examples: @inputfileref{input/@/regression,text@/-spanner@/.ly}.
137 @subsection Text marks
139 @cindex coda on bar line
140 @cindex segno on bar line
141 @cindex fermata on bar line
142 @cindex bar lines, symbols on
145 The @code{\mark} command is primarily used for
146 @ref{Rehearsal marks},
147 but it can also be used to put signs like coda,
148 segno, and fermata on a bar line. Use @code{\markup} to
149 access the appropriate symbol
151 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
152 c1 \mark \markup { \musicglyph #"scripts.ufermata" }
157 @code{\mark} is only typeset above the top stave of the score. If
158 you specify the @code{\mark} command at a bar line, the resulting
159 mark is placed above the bar line. If you specify it in the middle
160 of a bar, the resulting mark is positioned between notes. If it is
161 specified before the beginning of a score line, it is placed
162 before the first note of the line. Finally, if the mark occurs at
163 a line break, the mark will be printed at the
164 beginning of the next line.
165 @c IMO this is a bug; hopefully it'll be fixed soon, so I can
166 @c delete this sentence. -gp
167 If there is no next line, then the mark will not be printed at all.
172 To print the mark at the end of the current line, use
175 \override Score.RehearsalMark
176 #'break-visibility = #begin-of-line-invisible
179 @code{\mark} is often useful for adding text to the end of bar. In
180 such cases, changing the @code{#'self-alignment} is very useful
182 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
183 \override Score.RehearsalMark
184 #'break-visibility = #begin-of-line-invisible
186 \once \override Score.RehearsalMark #'self-alignment-X = #right
187 \mark "D.S. al Fine "
193 Program reference: @internalsref{RehearsalMark}.
197 @subsection Text markup
204 Use @code{\markup} to typeset text. Commands are entered with the
205 backslash @code{\}. To enter @code{\} and @code{#}, use double
208 @lilypond[quote,verbatim,fragment,relative=1]
210 c1_\markup { hi there }
211 c1^\markup { hi \bold there, is \italic anyone home? }
212 c1_\markup { "\special #characters" }
216 See @ref{Overview of text markup commands} for a list of all
219 @code{\markup} is primarily used for @internalsref{TextScript}s,
220 but it can also be used anywhere text is called in lilypond
222 @lilypond[quote,verbatim]
223 \header{ title = \markup{ \bold { foo \italic { bar! } } } }
226 \override Score.RehearsalMark
227 #'break-visibility = #begin-of-line-invisible
228 \override Score.RehearsalMark #'self-alignment-X = #right
230 \set Staff.instrument = \markup{ \column{ Alto solo } }
231 c2^\markup{ don't be \flat }
232 \override TextSpanner #'edge-text = #(cons (markup #:italic "rit" ) "")
234 a2\mark \markup{ \large \bold Fine }
238 \addlyrics { bar, foo \markup{ \italic bar! } }
242 Text can also be placed on its own, away from any @code{\score}
243 block. This is primarily used in a @code{\book} (see
244 @ref{Multiple movements}).
246 @lilypond[quote,ragged-right,verbatim]
247 \markup{ Here is some text. }
250 @cindex font switching
252 The markup in the example demonstrates font switching commands. The
253 command @code{\bold} and @code{\italic} apply to the first following
254 word only; to apply a command to more than one word, enclose the
258 \markup @{ \bold @{ hi there @} @}
262 For clarity, you can also do this for single arguments, e.g.,
265 \markup @{ is \italic @{ anyone @} home @}
268 In markup mode you can compose expressions, similar to mathematical
269 expressions, XML documents, and music expressions. You can stack
270 expressions grouped vertically with the command @code{\column}.
271 Similarly, @code{\center-align} aligns texts by their center lines:
273 @lilypond[quote,verbatim,fragment,relative=1]
274 c1^\markup { \column { a bbbb \line { c d } } }
275 c1^\markup { \center-align { a bbbb c } }
276 c1^\markup { \line { a b c } }
279 Lists with no previous command are not kept distinct. The expression
282 \center-align @{ @{ a b @} @{ c d @} @}
290 \center-align @{ a b c d @}
295 To keep lists of words distinct, please use quotes @code{"} or
296 the @code{\line} command
298 @lilypond[quote,verbatim,fragment,relative=1]
300 c4^\markup{ \center-align { on three lines } }
301 c4^\markup{ \center-align { "all one line" } }
302 c4^\markup{ \center-align { { on three lines } } }
303 c4^\markup{ \center-align { \line { on one line } } }
306 Markups can be stored in variables and these variables
307 may be attached to notes, like
309 allegro = \markup @{ \bold \large @{ Allegro @} @}
310 @{ a^\allegro b c d @}
313 Some objects have alignment procedures of their own, which cancel out
314 any effects of alignments applied to their markup arguments as a
315 whole. For example, the @internalsref{RehearsalMark} is horizontally
316 centered, so using @code{\mark \markup @{ \left-align .. @}} has no
319 In addition, vertical placement is performed after creating the
320 text markup object. If you wish to move an entire piece of markup,
321 you need to use the #'padding property or create an "anchor" point
322 inside the markup (generally with @code{\hspace #0}).
324 @lilypond[quote,verbatim,fragment,relative=1]
326 c'4^\markup{ \raise #5 "not raised" }
327 \once \override TextScript #'padding = #3
328 c'4^\markup{ raised }
329 c'4^\markup{ \hspace #0 \raise #1.5 raised }
335 This manual: @ref{Overview of text markup commands}.
337 Program reference: @internalsref{TextScript}.
339 Init files: @file{scm/@/new@/-markup@/.scm}.
344 Kerning or generation of ligatures is only done when the @TeX{}
345 backend is used. In this case, LilyPond does not account for them so
346 texts will be spaced slightly too wide.
348 Syntax errors for markup mode are confusing.
352 @subsection Text encoding
354 LilyPond uses the Pango library to format multi-lingual texts, and
355 does not perform any input-encoding conversions. This means that any
356 text, be it title, lyric text, or musical instruction containing
357 non-ASCII characters, must be utf-8. Easiest to enter such texts is
358 by using a Unicode-aware editor, and save using utf-8 encoding. Most
359 popular modern editors have utf-8 support, for example, vim, Emacs,
362 Depending on the fonts installed, the following fragment shows Hebrew
369 @lilypondfile[fontload]{utf-8.ly}
371 The @TeX{} backend does not handle encoding specially at all. Strings
372 in the input are put in the output as-is. Extents of text items in the
373 @TeX{} backend, are determined by reading a file created via the
374 @file{texstr} backend,
377 lilypond -b texstr input/les-nereides.ly
378 latex les-nereides.texstr
381 The last command produces @file{les-nereides.textmetrics}, which is
382 read when you execute
385 lilypond -b tex input/les-nereides.ly
388 Both @file{les-nereides.texstr} and @file{les-nereides.tex} need
389 suitable LaTeX wrappers to load appropriate La@TeX{} packages for
390 interpreting non-ASCII strings.
392 To use a Unicode escape sequence, use
395 #(ly:export (ly:wide-char->utf-8 #x2014))
401 @inputfileref{input/regression,utf-8.ly}
405 @subsection Nested scores
407 It is possible to nest music inside markups, by adding a @code{\score}
408 block to a markup expression. Such a score must contain a @code{\layout}
411 @lilypond[quote,verbatim,ragged-right]
415 \relative { c4 d e f }
424 @node Overview of text markup commands
425 @subsection Overview of text markup commands
427 The following commands can all be used inside @code{\markup @{ @}}.
429 @include markup-commands.tely
433 @subsection Font selection
435 @cindex font selection
436 @cindex font magnification
437 @cindex @code{font-interface}
439 By setting the object properties described below, you can select a
440 font from the preconfigured font families. LilyPond has default
441 support for the feta music fonts. Text fonts are selected through
442 Pango/FontConfig. The serif font defaults to New Century Schoolbook,
443 the sans and typewriter to whatever the Pango installation defaults
448 @item @code{font-encoding}
449 is a symbol that sets layout of the glyphs. This should only be set to
450 select different types of non-text fonts, eg.
452 @code{fetaBraces} for piano staff braces, @code{fetaMusic} the
453 standard music font, including ancient glyphs, @code{fetaDynamic} for
454 dynamic signs and @code{fetaNumber} for the number font.
456 @item @code{font-family}
457 is a symbol indicating the general class of the typeface. Supported are
458 @code{roman} (Computer Modern), @code{sans}, and @code{typewriter}.
460 @item @code{font-shape}
461 is a symbol indicating the shape of the font. There are typically
462 several font shapes available for each font family. Choices are
463 @code{italic}, @code{caps}, and @code{upright}.
465 @item @code{font-series}
466 is a symbol indicating the series of the font. There are typically
467 several font series for each font family and shape. Choices are
468 @code{medium} and @code{bold}.
472 Fonts selected in the way sketched above come from a predefined style
473 sheet. If you want to use a font from outside the style sheet,
475 @code{font-name} property,
477 @lilypond[fragment,verbatim]
479 \override Staff.TimeSignature #'font-name = #"Charter"
480 \override Staff.TimeSignature #'font-size = #2
483 \override #'(font-name . "Vera Bold")
484 { This text is in Vera Bold }
490 Any font can be used, as long as it is available to Pango/FontConfig.
492 The size of the font may be set with the @code{font-size}
493 property. The resulting size is taken relative to the
494 @code{text-font-size} as defined in the @code{\paper} block.
497 @cindex font magnification
500 It is also possible to change the default font family for the entire
501 document. This is done by calling the @code{make-pango-font-tree} from
502 within the @code{\paper} block. The function takes names for the font
503 families to use for roman, sans serif and monospaced text. For
506 @cindex font families, setting
515 (make-pango-font-tree "Times New Roman"
522 c'^\markup { roman: foo \sans bla \typewriter bar }
526 @c we don't do Helvetica / Courier, since GS incorrectly loads
533 Examples: @file{ly/@/font@/-family@/-override.ly}
536 @node New dynamic marks
537 @subsection New dynamic marks
539 It is possible to print new dynamic marks or text that should be aligned
540 with dynamics. Use @code{make-dynamic-script} to create these marks.
542 @cindex make-dynamic-script
544 @lilypond[quote,verbatim,ragged-right]
545 sfzp = #(make-dynamic-script "sfzp")
551 @cindex Dynamics, editorial
552 @cindex Dynamics, parenthesis
554 It is also possible to print dynamics in round parenthesis or square
555 brackets. These are often used for adding editorial dynamics.
557 @lilypond[quote,verbatim,ragged-right]
558 rndf = \markup{ \center-align {\line { \bold{\italic (}
559 \dynamic f \bold{\italic )} }} }
560 boxf = \markup{ \bracket { \dynamic f } }
561 { c'1_\rndf c'1_\boxf }
566 @node Preparing parts
567 @section Preparing parts
569 This section describes various notation that are useful for preparing
573 * Multi measure rests::
578 * Instrument transpositions::
580 * Different editions from one source::
584 @node Multi measure rests
585 @subsection Multi measure rests
587 @cindex multi measure rests
588 @cindex full measure rests
589 @cindex Rests, multi measure
590 @cindex Rests, full measure
591 @cindex whole rests for a full measure
594 Rests for one full measure (or many bars) are entered using `@code{R}'. It
595 is specifically meant for full bar rests and for entering parts: the rest
596 can expand to fill a score with rests, or it can be printed as a single
597 multi-measure rest. This expansion is controlled by the property
598 @code{Score.skipBars}. If this is set to true, empty measures will not
599 be expanded, and the appropriate number is added automatically
601 @lilypond[quote,ragged-right,fragment,verbatim]
602 \time 4/4 r1 | R1 | R1*2
603 \set Score.skipBars = ##t R1*17 R1*4
606 The @code{1} in @code{R1} is similar to the duration notation used for
607 notes. Hence, for time signatures other than 4/4, you must enter other
608 durations. This can be done with augmentation dots or fractions
610 @lilypond[quote,ragged-right,fragment,verbatim]
611 \set Score.skipBars = ##t
620 An @code{R} spanning a single measure is printed as either a whole rest
621 or a breve, centered in the measure regardless of the time signature.
623 If there are only a few measures of rest, LilyPond prints ``church rests''
624 (a series of rectangles) in the staff. To replace that with a simple
625 rest, use @code{MultiMeasureRest.expand-limit}.
627 @lilypond[quote,ragged-right,fragment,verbatim]
628 \set Score.skipBars = ##t
630 \override MultiMeasureRest #'expand-limit = 1
634 @cindex text on multi-measure rest
635 @cindex script on multi-measure rest
636 @cindex fermata on multi-measure rest
638 Texts can be added to multi-measure rests by using the
639 @var{note}-@code{markup} syntax @ref{Text markup}.
640 A variable (@code{\fermataMarkup}) is provided for
643 @lilypond[quote,ragged-right,verbatim,fragment]
644 \set Score.skipBars = ##t
646 R2.*10^\markup { \italic "ad lib." }
650 Warning! This text is created by @code{MultiMeasureRestText}, not
653 @lilypond[quote,ragged-right,verbatim,fragment]
654 \override TextScript #'padding = #5
656 \override MultiMeasureRestText #'padding = #5
660 If you want to have text on the left end of a multi-measure rest,
661 attach the text to a zero-length skip note, i.e.,
671 Program reference: @internalsref{MultiMeasureRestMusicGroup},
672 @internalsref{MultiMeasureRest}.
674 The layout object @internalsref{MultiMeasureRestNumber} is for the
675 default number, and @internalsref{MultiMeasureRestText} for user
681 It is not possible to use fingerings (e.g., @code{R1-4}) to put numbers
682 over multi-measure rests. And the pitch of multi-measure rests (or
683 staff-centered rests) can not be influenced.
685 @cindex condensing rests
687 There is no way to automatically condense multiple rests into a single
688 multi-measure rest. Multi-measure rests do not take part in rest
691 Be careful when entering multi-measure rests followed by whole
692 notes. The following will enter two notes lasting four measures each
696 When @code{skipBars} is set, the result will look OK, but the bar
697 numbering will be off.
700 @node Metronome marks
701 @subsection Metronome marks
704 @cindex beats per minute
705 @cindex metronome marking
707 Metronome settings can be entered as follows
709 \tempo @var{duration} = @var{per-minute}
712 In the MIDI output, they are interpreted as a tempo change. In the
713 layout output, a metronome marking is printed
714 @cindex @code{\tempo}
715 @lilypond[quote,ragged-right,verbatim,fragment]
722 To change the tempo in the MIDI output without printing anything, make
723 the metronome marking invisible
725 \once \override Score.MetronomeMark #'transparent = ##t
728 To print other metronome markings, use these markup commands
729 @lilypond[quote,ragged-right,verbatim,relative,fragment]
732 \smaller \general-align #Y #DOWN \note #"16." #1
734 \smaller \general-align #Y #DOWN \note #"8" #1
739 See @ref{Text markup} for more details.
744 Program reference: @internalsref{MetronomeMark}.
749 Collisions are not checked. If you have notes above the top line of
750 the staff (or notes with articulations, slurs, text, etc), then the
751 metronome marking may be printed on top of musical symbols. If this
752 occurs, increase the padding of the metronome mark to place it
753 further away from the staff.
756 \override Score.MetronomeMark #'padding = #2.5
760 @node Rehearsal marks
761 @subsection Rehearsal marks
763 @cindex Rehearsal marks
766 To print a rehearsal mark, use the @code{\mark} command
768 @lilypond[quote,ragged-right,fragment,verbatim,relative=2]
777 The letter@tie{}`I' is skipped in accordance with engraving traditions.
778 If you wish to include the letter `I', then use
781 \set Score.markFormatter = #format-mark-alphabet
784 The mark is incremented automatically if you use @code{\mark
785 \default}, but you can also use an integer argument to set the mark
786 manually. The value to use is stored in the property
787 @code{rehearsalMark}.
789 The style is defined by the property @code{markFormatter}. It is a
790 function taking the current mark (an integer) and the current context
791 as argument. It should return a markup object. In the following
792 example, @code{markFormatter} is set to a canned procedure. After a
793 few measures, it is set to function that produces a boxed number.
795 @lilypond[fragment,quote,ragged-right,verbatim,relative=2]
796 \set Score.markFormatter = #format-mark-numbers
799 \set Score.markFormatter = #format-mark-box-numbers
805 The file @file{scm/@/translation@/-functions@/.scm} contains the definitions
806 of @code{format-mark-numbers} (the default format), @code{format-mark-box-numbers},
807 @code{format-mark-letters} and @code{format-mark-box-letters}.
808 These can be used as inspiration for other formatting functions.
810 You may use @code{format-mark-barnumbers}, @code{format-mark-box-barnumbers},
811 and @code{format-mark-circle-barnumbers} to get bar numbers instead of
812 incremented numbers or letters.
817 Program reference: @internalsref{RehearsalMark}.
819 Init files: @file{scm/@/translation@/-functions@/.scm} contains the
820 definition of @code{format-mark-numbers} and
821 @code{format-mark-letters}. They can be used as inspiration for other
822 formatting functions.
824 Examples: @inputfileref{input/@/regression,rehearsal@/-mark@/-letter@/.ly},
826 @inputfileref{input/@/regression,rehearsal@/-mark@/-number@/.ly}.
830 @subsection Bar numbers
833 @cindex measure numbers
834 @cindex @code{currentBarNumber}
836 Bar numbers are printed by default at the start of the line. The
837 number itself is stored in the @code{currentBarNumber} property, which
838 is normally updated automatically for every measure.
840 Bar numbers can be typeset at regular intervals instead of at the
841 beginning of each line. This is illustrated in the following example,
842 whose source is available as
843 @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}
845 @lilypondfile[ragged-right,quote]{bar-number-regular-interval.ly}
847 Bar numbers can be typeset manually by tweaking the
848 @code{markFormatter} property
850 @lilypond[verbatim,ragged-right,quote]
852 \set Score.markFormatter
853 = #(lambda (mark context)
856 (number->string (ly:context-property context
857 'currentBarNumber)))))
859 c1 \bar "||" \mark \default c1 c1 \mark \default c1 \bar "|."
863 Bar numbers can be manually changed by setting the
864 @code{Staff.currentBarNumber} property
866 @lilypond[verbatim,ragged-right,quote]
868 \repeat unfold 4 {c4 c c c} \break
869 \set Score.currentBarNumber = #50
870 \repeat unfold 4 {c4 c c c}
877 Program reference: @internalsref{BarNumber}.
880 @inputfileref{input/@/test,bar@/-number@/-every@/-five@/-reset@/.ly},
881 and @inputfileref{input/@/test,bar@/-number@/-regular@/-interval@/.ly}.
886 Bar numbers can collide with the @internalsref{StaffGroup} bracket, if
887 there is one at the top. To solve this, the
888 @code{padding} property of @internalsref{BarNumber} can be
889 used to position the number correctly.
892 @node Instrument names
893 @subsection Instrument names
895 In an orchestral score, instrument names are printed at the left side
898 This can be achieved by setting @internalsref{Staff}.@code{instrument}
899 and @internalsref{Staff}.@code{instr}. This will print a string before
900 the start of the staff. For the first staff, @code{instrument} is
901 used, for the following ones, @code{instr} is used.
903 @lilypond[quote,verbatim,ragged-right,relative=1,fragment]
904 \set Staff.instrument = "Ploink "
905 \set Staff.instr = "Plk "
911 You can also use markup texts to construct more complicated instrument
914 @lilypond[quote,fragment,verbatim,ragged-right]
915 \set Staff.instrument = \markup {
916 \column { "Clarinetti"
917 \line { "in B" \smaller \flat } } }
921 If you wish to center the instrument names, you must center all of them
923 @lilypond[quote,verbatim,ragged-right]
926 \set Staff.instrument = \markup {
927 \center-align { "Clarinetti"
928 \line { "in B" \smaller \flat } } }
932 \set Staff.instrument = \markup{ \center-align { Vibraphone }}
939 For longer instrument names, it may be useful to increase the
940 @code{indent} setting in the @code{\layout} block.
944 Program reference: @internalsref{InstrumentName}.
948 When you put a name on a grand staff or piano staff, the width of the
949 brace is not taken into account. The following property setting can be
950 used to move the instrument names to the left, in such situations.
953 \override Score.InstrumentName #'space-alist = #'((left-edge extra-space . 2.0))
957 @node Instrument transpositions
958 @subsection Instrument transpositions
960 @cindex transposition, MIDI
961 @cindex transposition, instrument
963 The key of a transposing instrument can also be specified. This
964 applies to many wind instruments, for example, clarinets (B-flat, A, and
965 E-flat), horn (F) and trumpet (B-flat, C, D, and E-flat).
967 The transposition is entered after the keyword @code{\transposition}
970 \transposition bes %% B-flat clarinet
974 This command sets the property @code{instrumentTransposition}. The value of
975 this property is used for MIDI output and quotations. It does not
976 affect how notes are printed in the current staff. To change the printed
977 output, see @ref{Transpose}.
979 The pitch to use for @code{\transposition} should correspond to the
980 real sound heard when a @code{c'} written on the staff is played by the
981 transposing instrument. For example, when entering a score in
982 concert pitch, typically all voices are entered in C, so
983 they should be entered as
996 The command @code{\transposition} should be used when the music is
997 entered from a (transposed) orchestral part. For example, in
998 classical horn parts, the tuning of the instrument is often changed
999 during a piece. When copying the notes from the part, use
1000 @code{\transposition}, e.g.,
1012 @node Ottava brackets
1013 @subsection Ottava brackets
1015 `Ottava' brackets introduce an extra transposition of an octave for
1016 the staff. They are created by invoking the function
1017 @code{set-octavation}
1023 @lilypond[quote,ragged-right,verbatim,fragment]
1033 The @code{set-octavation} function also takes -1 (for 8va bassa) and 2
1034 (for 15ma) as arguments. Internally the function sets the properties
1035 @code{ottavation} (e.g., to @code{"8va"}) and
1036 @code{centralCPosition}. For overriding the text of the bracket, set
1037 @code{ottavation} after invoking @code{set-octavation}, i.e.,
1039 @lilypond[quote,ragged-right,verbatim]
1042 \set Staff.ottavation = #"8"
1050 Program reference: @internalsref{OttavaBracket}.
1052 Examples: @inputfileref{input/@/regression,ottava@/.ly},
1053 @inputfileref{input/@/regression,ottava@/-broken@/.ly}.
1058 @code{set-octavation} will get confused when clef changes happen
1059 during an octavation bracket.
1062 @node Different editions from one source
1063 @subsection Different editions from one source
1068 The @code{\tag} command marks music expressions with a name. These
1069 tagged expressions can be filtered out later. With this mechanism it
1070 is possible to make different versions of the same music source.
1072 In the following example, we see two versions of a piece of music, one
1073 for the full score, and one with cue notes for the instrumental part
1089 The same can be applied to articulations, texts, etc.: they are
1092 -\tag #@var{your-tag}
1094 to an articulation, for example,
1099 This defines a note with a conditional fingering indication.
1102 @cindex removeWithTag
1103 By applying the @code{\keepWithTag} and @code{\removeWithTag}
1104 commands, tagged expressions can be filtered. For example,
1108 \keepWithTag #'score @var{the music}
1109 \keepWithTag #'part @var{the music}
1114 @lilypondfile[ragged-right,quote]{tag-filter.ly}
1116 The argument of the @code{\tag} command should be a symbol. It's
1117 possible to put multiple tags on a piece of music, with multiple
1118 @code{\tag} entries,
1120 \tag #'original-part \tag #'transposed-part @dots{}
1126 Examples: @inputfileref{input/@/regression,tag@/-filter@/.ly}.
1131 Multiple rests are not merged if you create the score with both tagged
1136 @node Orchestral music
1137 @section Orchestral music
1139 Orchestral music involves some special notation, both in the full
1140 score and the individual parts. This section explains how to tackle
1141 some common problems in orchestral music.
1144 * Automatic part combining::
1146 * Quoting other voices::
1147 * Formatting cue notes::
1148 * Aligning to cadenzas::
1152 @node Automatic part combining
1153 @subsection Automatic part combining
1154 @cindex automatic part combining
1155 @cindex part combiner
1157 Automatic part combining is used to merge two parts of music onto a
1158 staff. It is aimed at typesetting orchestral scores. When the two
1159 parts are identical for a period of time, only one is shown. In
1160 places where the two parts differ, they are typeset as separate
1161 voices, and stem directions are set automatically. Also, solo and
1162 @emph{a due} parts are identified and can be marked.
1164 The syntax for part combining is
1167 \partcombine @var{musicexpr1} @var{musicexpr2}
1171 The following example demonstrates the basic functionality of the part
1172 combiner: putting parts on one staff, and setting stem directions and
1175 @lilypond[quote,verbatim,ragged-right,fragment]
1176 \new Staff \partcombine
1177 \relative g' { g g a( b) c c r r }
1178 \relative g' { g g r4 r e e g g }
1181 The first @code{g} appears only once, although it was
1182 specified twice (once in each part). Stem, slur, and tie directions are
1183 set automatically, depending whether there is a solo or unisono. The
1184 first part (with context called @code{one}) always gets up stems, and
1185 `Solo', while the second (called @code{two}) always gets down stems and
1188 If you just want the merging parts, and not the textual markings, you
1189 may set the property @code{printPartCombineTexts} to false
1191 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1193 \set Staff.printPartCombineTexts = ##f
1195 \relative g' { g a( b) r }
1196 \relative g' { g r4 r f }
1200 To change the text that is printed for solos or merging, you may
1201 set the @code{soloText}, @code{soloIIText}, and @code{aDueText}
1204 @lilypond[quote,verbatim,ragged-right,fragment,relative=2]
1206 \set Score.soloText = #"ichi"
1207 \set Score.soloIIText = #"ni"
1208 \set Score.aDueText = #"tachi"
1210 \relative g' { g4 g a( b) r }
1211 \relative g' { g4 g r r f }
1215 Both arguments to @code{\partcombine} will be interpreted as
1216 @internalsref{Voice} contexts. If using relative octaves,
1217 @code{\relative} should be specified for both music expressions, i.e.,
1221 \relative @dots{} @var{musicexpr1}
1222 \relative @dots{} @var{musicexpr2}
1226 A @code{\relative} section that is outside of @code{\partcombine} has
1227 no effect on the pitches of @var{musicexpr1} and @var{musicexpr2}.
1231 Program reference: @internalsref{PartCombineMusic}.
1235 When @code{printPartCombineTexts} is set, when the two voices play the
1236 same notes on and off, the part combiner may typeset @code{a2} more
1237 than once in a measure.
1239 @code{\partcombine} cannot be inside @code{\times}.
1241 @code{\partcombine} cannot be inside @code{\relative}.
1243 Internally, the @code{\partcombine} interprets both arguments as
1244 @code{Voice}s named @code{one} and @code{two}, and then decides when
1245 the parts can be combined. Consequently, if the arguments switch to
1246 differently named @internalsref{Voice} contexts, the events in those
1251 @subsection Hiding staves
1253 @cindex Frenched scores
1254 @cindex Hiding staves
1256 In orchestral scores, staff lines that only have rests are usually
1257 removed; this saves some space. This style is called `French Score'.
1258 For @internalsref{Lyrics},
1259 @internalsref{ChordNames} and @internalsref{FiguredBass}, this is
1260 switched on by default. When the lines of these contexts turn out
1261 empty after the line-breaking process, they are removed.
1263 For normal staves, a specialized @internalsref{Staff} context is
1264 available, which does the same: staves containing nothing (or only
1265 multi-measure rests) are removed. The context definition is stored in
1266 @code{\RemoveEmptyStaffContext} variable. Observe how the second staff
1267 in this example disappears in the second line
1269 @lilypond[quote,ragged-right,verbatim]
1271 \context { \RemoveEmptyStaffContext }
1276 \new Staff { e4 f g a \break c1 }
1277 \new Staff { c4 d e f \break R1 }
1282 The first system shows all staves in full. If empty staves should be
1283 removed from the first system too, set @code{remove-first} to true in
1284 @internalsref{VerticalAxisGroup}.
1287 \override Score.VerticalAxisGroup #'remove-first = ##t
1290 To remove other types of contexts, use @code{\AncientRemoveEmptyStaffContext}
1291 or @code{\RemoveEmptyRhythmicStaffContext}.
1293 Another application is making ossia sections, i.e., alternative
1294 melodies on a separate piece of staff, with help of a Frenched
1295 staff. See @inputfileref{input/@/test,ossia@/.ly} for an example.
1298 @node Quoting other voices
1299 @subsection Quoting other voices
1301 With quotations, fragments of other parts can be inserted into a part
1302 directly. Before a part can be quoted, it must be marked especially as
1303 quotable. This is done with the @code{\addquote} command.
1306 \addquote @var{name} @var{music}
1311 Here, @var{name} is an identifying string. The @var{music} is any kind
1312 of music. Here is an example of @code{\addquote}
1315 \addquote clarinet \relative c' @{
1320 This command must be entered at toplevel, i.e., outside any music
1323 After calling @code{\addquote}, the quotation may then be done with
1324 @code{\quoteDuring} or @code{\cueDuring},
1327 \quoteDuring #@var{name} @var{music}
1330 During a part, a piece of music can be quoted with the @code{\quoteDuring}
1334 \quoteDuring #"clarinet" @{ s2. @}
1337 This would cite three quarter notes (the duration of @code{s2.}) of
1338 the previously added @code{clarinet} voice.
1341 More precisely, it takes the current time-step of the part being
1342 printed, and extracts the notes at the corresponding point of the
1343 @code{\addquote}d voice. Therefore, the argument to @code{\addquote}
1344 should be the entire part of the voice to be quoted, including any
1345 rests at the beginning.
1347 Quotations take into account the transposition of both source and target
1348 instruments, if they are specified using the @code{\transposition} command.
1350 @lilypond[quote,ragged-right,verbatim]
1351 \addquote clarinet \relative c' {
1357 e'8 f'8 \quoteDuring #"clarinet" { s2 }
1361 The type of events that are present in cue notes can be trimmed with
1362 the @code{quotedEventTypes} property. The default value is
1363 @code{(note-event rest-event)}, which means that only notes and
1364 rests of the cued voice end up in the @code{\quoteDuring}.
1368 \set Staff.quotedEventTypes =
1369 #'(note-event articulation-event dynamic-event)
1373 will quote notes (but no rests), together with scripts and dynamics.
1377 Only the contents of the first @internalsref{Voice} occurring in an
1378 @code{\addquote} command will be considered for quotation, so
1379 @var{music} can not contain @code{\new} and @code{\context Voice}
1380 statements that would switch to a different Voice.
1382 Quoting grace notes is broken and can even cause LilyPond to crash.
1386 In this manual: @ref{Instrument transpositions}.
1388 Examples: @inputfileref{input/@/regression,quote@/.ly}
1389 @inputfileref{input/@/regression,quote@/-transposition@/.ly}
1391 Program reference: @internalsref{QuoteMusic}.
1394 @node Formatting cue notes
1395 @subsection Formatting cue notes
1397 The previous section deals with inserting notes from another voice.
1398 There is a more advanced music function called @code{\cueDuring},
1399 which makes formatting cue notes easier.
1404 \cueDuring #@var{name} #@var{updown} @var{music}
1407 This will insert notes from the part @var{name} into a
1408 @internalsref{Voice} called @code{cue}. This happens simultaneously
1409 with @var{music}, which usually is a rest. When the cue notes start,
1410 the staff in effect becomes polyphonic for a moment. The argument
1411 @var{updown} determines whether the cue notes should be notated as a
1412 first or second voice.
1415 @lilypond[verbatim,ragged-right]
1418 \override Stem #'length-fraction = #0.8
1419 \override Beam #'thickness = #0.384
1420 \override Beam #'length-fraction = #0.8
1423 \addquote clarinet \relative {
1428 \new Staff \relative <<
1430 % setup a context for cue notes.
1431 \new Voice = "cue" { \smaller \skip 1*21 }
1433 \set Score.skipBars = ##t
1437 \cueDuring #"clarinet" #1 {
1446 Here are a couple of hints for successful cue notes
1450 Cue notes have smaller font sizes.
1452 the cued part is marked with the instrument playing the cue.
1454 when the original part takes over again, this should be marked with
1455 the name of the original instrument.
1457 @c really? Are you sure about that last point? I'll check after 3.0 -gp
1459 @c Yes, this is good practice. Otherwise, the start of the original
1460 @c part can only be seen from the font size. This is not good enough
1461 @c for sight-reading. It is possilbe to use other
1462 @c markers (eg. a big close-bracket over the staff) to indicate the cue notes are
1467 Any other changes introduced by the cued part should also be
1468 undone. For example, if the cued instrument plays in a different clef,
1469 the original clef should be stated once again.
1474 @node Aligning to cadenzas
1475 @subsection Aligning to cadenzas
1477 In an orchestral context, cadenzas present a special problem:
1478 when constructing a score that includes a cadenza, all other
1479 instruments should skip just as many notes as the length of the
1480 cadenza, otherwise they will start too soon or too late.
1482 A solution to this problem are the functions @code{mmrest-of-length}
1483 and @code{skip-of-length}. These Scheme functions take a piece of music
1484 as argument, and generate a @code{\skip} or multi-rest, exactly as
1485 long as the piece. The use of @code{mmrest-of-length} is demonstrated
1486 in the following example.
1488 @lilypond[verbatim,ragged-right,quote]
1489 cadenza = \relative c' {
1490 c4 d8 << { e f g } \\ { d4. } >>
1495 \new Staff { \cadenza c'4 }
1497 #(ly:export (mmrest-of-length cadenza))
1506 @node Contemporary notation
1507 @section Contemporary notation
1509 In the 20th century, composers have greatly expanded the musical
1510 vocabulary. With this expansion, many innovations in musical notation
1511 have been tried. The book ``Music Notation in the 20th century'' by
1512 Kurt Stone gives a comprehensive overview (see @ref{Literature
1513 list}). In general, the use of new, innovative notation makes a piece
1514 harder to understand and perform and its use should therefore be
1515 avoided. For this reason, support for contemporary notation in
1516 LilyPond is limited.
1520 * Polymetric notation::
1521 * Time administration::
1523 * Special fermatas::
1524 * Special noteheads::
1530 @node Polymetric notation
1531 @subsection Polymetric notation
1533 Double time signatures are not supported explicitly, but they can be
1534 faked. In the next example, the markup for the time signature is
1535 created with a markup text. This markup text is inserted in the
1536 @internalsref{TimeSignature} grob.
1538 @lilypond[verbatim,ragged-right]
1543 \musicglyph #"scripts.stopped"
1544 \bracket \column { "5" "8" }
1549 \override Staff.TimeSignature #'stencil = #ly:text-interface::print
1550 \override Staff.TimeSignature #'text = #tsMarkup
1552 c'2 \bar ":" c'4 c'4.
1556 Each staff can also have its own time signature. This is done by
1557 moving the @internalsref{Timing_translator} to the @internalsref{Staff}
1563 \remove "Timing_translator"
1564 \remove "Default_bar_line_engraver"
1568 \consists "Timing_translator"
1569 \consists "Default_bar_line_engraver"
1576 Now, each staff has its own time signature.
1589 c4. c8 c c c4. c8 c c
1594 @lilypond[quote,ragged-right]
1598 \remove "Timing_translator"
1599 \remove "Default_bar_line_engraver"
1602 \consists "Timing_translator"
1603 \consists "Default_bar_line_engraver"
1618 c4. c8 c c c4. c8 c c
1624 A different form of polymetric notation is where note lengths have
1625 different values across staves.
1627 This notation can be created by setting a common time signature for
1628 each staff but replacing it manually using
1629 @code{timeSignatureFraction} to the desired fraction. Then the printed
1630 durations in each staff are scaled to the common time signature.
1631 The latter is done with @code{\compressMusic}, which is used similar
1632 to @code{\times}, but does not create a tuplet bracket. The syntax is
1634 \compressMusic #'(@var{numerator} . @var{denominator}) @var{musicexpr}
1639 In this example, music with the time signatures of 3/4, 9/8, and 10/8 are
1640 used in parallel. In the second staff, shown durations are multiplied by
1641 2/3, so that 2/3 * 9/8 = 3/4, and in the third staff, shown durations are
1642 multiplied by 3/5, so that 3/5 * 10/8 = 3/4.
1644 @lilypond[quote,ragged-right,verbatim,fragment]
1652 \set Staff.timeSignatureFraction = #'(9 . 8)
1653 \compressMusic #'(2 . 3)
1654 \repeat unfold 6 { c8[ c c] }
1658 \set Staff.timeSignatureFraction = #'(10 . 8)
1659 \compressMusic #'(3 . 5) {
1660 \repeat unfold 2 { c8[ c c] }
1661 \repeat unfold 2 { c8[ c] }
1662 | c4. c4. \times 2/3 { c8 c c } c4
1673 When using different time signatures in parallel, the spacing is
1674 aligned vertically, but bar lines distort the regular spacing.
1677 @node Time administration
1678 @subsection Time administration
1680 @cindex Time administration
1682 Time is administered by the @internalsref{Time_signature_engraver},
1683 which usually lives in the @internalsref{Score} context. The
1684 bookkeeping deals with the following variables
1687 @item currentBarNumber
1691 The length of the measures in the current time signature. For a 4/4
1692 time this is@tie{}1, and for 6/8 it is 3/4.
1694 @item measurePosition
1695 The point within the measure where we currently are. This quantity
1696 is reset to@tie{}0 whenever it exceeds @code{measureLength}. When that
1697 happens, @code{currentBarNumber} is incremented.
1700 If set to true, the above variables are updated for every time
1701 step. When set to false, the engraver stays in the current measure
1705 Timing can be changed by setting any of these variables explicitly.
1706 In the next example, the 4/4 time signature is printed, but
1707 @code{measureLength} is set to 5/4. After a while, the measure is
1708 shortened by 1/8, by setting @code{measurePosition} to 7/8 at 2/4
1709 in the measure, so the next bar line will fall at 2/4 + 3/8. The
1710 3/8 arises because 5/4 normally has 10/8, but we have manually
1711 set the measure position to be 7/8 and 10/8 - 7/8 = 3/8.
1713 @lilypond[quote,ragged-right,verbatim,relative,fragment]
1714 \set Score.measureLength = #(ly:make-moment 5 4)
1718 \set Score.measurePosition = #(ly:make-moment 7 8)
1726 @subsection Clusters
1730 A cluster indicates a continuous range of pitches to be played. They
1731 can be denoted as the envelope of a set of notes. They are entered by
1732 applying the function @code{makeClusters} to a sequence of
1734 @lilypond[quote,ragged-right,relative=2,fragment,verbatim]
1735 \makeClusters { <c e > <b f'> }
1738 The following example (from
1739 @inputfileref{input/@/regression,cluster@/.ly}) shows what the result
1742 @lilypondfile[ragged-right,quote]{cluster.ly}
1744 Ordinary notes and clusters can be put together in the same staff,
1745 even simultaneously. In such a case no attempt is made to
1746 automatically avoid collisions between ordinary notes and clusters.
1750 Program reference: @internalsref{ClusterSpanner},
1751 @internalsref{ClusterSpannerBeacon},
1752 @internalsref{Cluster_spanner_engraver}.
1754 Examples: @inputfileref{input/@/regression,cluster@/.ly}.
1758 Music expressions like @code{<< @{ g8 e8 @} a4 >>} are not printed
1759 accurately. Use @code{<g a>8 <e a>8} instead.
1763 @node Special fermatas
1764 @subsection Special fermatas
1766 @cindex fermatas, special
1768 In contemporary music notation, special fermata symbols denote breaks
1769 of differing lengths. The following fermatas are supported
1771 @lilypond[quote,ragged-right]
1794 \new Lyrics \lyricmode {
1795 \override LyricText #'font-family = #'typewriter
1796 "shortfermata" "fermata" "longfermata" "verylongfermata"
1801 See @ref{Articulations} for general instructions how to apply scripts
1802 such as fermatas to notes.
1805 @node Special noteheads
1806 @subsection Special noteheads
1808 Different noteheads are used by various instruments for various
1809 meanings -- crosses are used for ``parlato'' with vocalists, stopped
1810 notes on guitar; diamonds are used for harmonics on string instruments,
1811 etc. There is a shorthand (@code{\harmonic}) for diamond shapes; the
1812 other notehead styles are produced by tweaking the property
1814 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1816 \override NoteHead #'style = #'cross
1818 \revert NoteHead #'style
1819 e d <c f\harmonic> <d a'\harmonic>
1823 To see all notehead styles, please see
1824 @inputfileref{input/@/regression,note@/-head@/-style@/.ly}.
1829 Program reference: @internalsref{NoteHead}.
1832 @node Feathered beams
1833 @subsection Feathered beams
1835 Feathered beams are not supported natively, but they can be faked by
1836 forcing two beams to overlap. Here is an example,
1838 @c don't change relative setting witout changing positions!
1839 @lilypond[ragged-right,relative=1,fragment,verbatim,quote]
1844 \once \override Voice.Beam #'positions = #'(0 . 0.5)
1849 \once \override Voice.Beam #'positions = #'(0 . -0.5)
1857 @subsection Improvisation
1859 Improvisation is sometimes denoted with slashed note heads. Such note
1860 heads can be created by adding a @internalsref{Pitch_squash_engraver}
1861 to the @internalsref{Staff} or @internalsref{Voice} context. Then, the
1865 \set squashedPosition = #0
1866 \override NoteHead #'style = #'slash
1870 switches on the slashes.
1872 There are shortcuts @code{\improvisationOn} (and an accompanying
1873 @code{\improvisationOff}) for this command sequence. They are used in
1874 the following example
1876 @lilypond[verbatim,ragged-right,quote]
1878 \consists Pitch_squash_engraver
1880 e8 e g a a16(bes)(a8) g \improvisationOn
1883 ~fis2 \improvisationOff a16(bes) a8 g e
1888 @node Educational use
1889 @section Educational use
1891 With the amount of control that LilyPond offers, one can make great
1892 teaching tools in addition to great musical scores.
1896 * Blank music sheet::
1898 * Shape note heads ::
1899 * Easy Notation note heads::
1900 * Analysis brackets::
1901 * Coloring objects::
1905 @subsection Balloon help
1907 Elements of notation can be marked and named with the help of a square
1908 balloon. The primary purpose of this feature is to explain notation.
1910 The following example demonstrates its use.
1912 @lilypond[quote,verbatim,fragment,ragged-right,relative=2]
1915 #(add-balloon-text 'NoteHead "heads, or tails?"
1922 The function @code{add-balloon-text} takes the name of a grob, the
1923 label to print, and the position where to put the label relative to
1924 the object. In the above example, the text ``heads or tails?'' ends
1925 3 spaces below and 1 space to the right of the marked head.
1928 @cindex notation, explaining
1932 Program reference: @internalsref{text-balloon-interface}.
1934 Examples: @inputfileref{input/@/regression,balloon@/.ly}.
1939 @node Blank music sheet
1940 @subsection Blank music sheet
1942 A blank music sheet can be produced also by using invisible notes, and
1943 removing @code{Bar_number_engraver}.
1946 @lilypond[quote,verbatim]
1948 \repeat unfold 2 % Change this for more lines.
1953 \override TimeSignature #'transparent = ##t
1954 defaultBarType = #""
1955 \remove Bar_number_engraver
1957 \new Staff \emptymusic
1958 \new TabStaff \emptymusic
1964 @subsection Hidden notes
1966 @cindex Hidden notes
1967 @cindex Invisible notes
1968 @cindex Transparent notes
1970 @cindex @code{\hideNotes}
1971 @cindex @code{\unHideNotes}
1972 Hidden (or invisible or transparent) notes can be useful in preparing theory
1973 or composition exercises.
1975 @lilypond[quote,ragged-right,verbatim,relative=2,fragment]
1983 Hidden notes are also great for performing weird tricks. For example,
1984 slurs cannot be attached to rests or spacer rests, but you may wish
1985 to include that in your score -- string instruments use this notation
1986 when doing pizzicato to indicate that the note should ring for as long
1989 @lilypond[quote,ragged-right,verbatim,relative=0,fragment]
1992 c4^"pizz"( \hideNotes c)
1993 \unHideNotes c( \hideNotes c)
2000 @node Shape note heads
2001 @subsection Shape note heads
2003 In shape note head notation, the shape of the note head corresponds
2004 to the harmonic function of a note in the scale. This notation was
2005 popular in the 19th century American song books.
2007 Shape note heads can be produced by setting @code{\aikenHeads} or
2008 @code{\sacredHarpHeads}, depending on the style desired.
2010 @lilypond[verbatim,relative=1,fragment]
2017 Shapes are determined on the step in the scale, where the base of the
2018 scale is determined by the @code{\key} command
2021 @findex shapeNoteStyles
2023 @findex \sacredHarpHeads
2025 Shape note heads are implemented through the @code{shapeNoteStyles}
2026 property. Its value is a vector of symbols. The k-th element indicates
2027 the style to use for the k-th step of the scale. Arbitrary
2028 combinations are possible, eg.,
2031 @lilypond[verbatim,relative=1,fragment]
2032 \set shapeNoteStyles = ##(cross triangle fa #f mensural xcircle diamond)
2037 @node Easy Notation note heads
2038 @subsection Easy Notation note heads
2040 @cindex easy notation
2043 The `easy play' note head includes a note name inside the head. It is
2044 used in music for beginners
2046 @lilypond[quote,ragged-right,verbatim,fragment,staffsize=26]
2051 The command @code{\setEasyHeads} overrides settings for the
2052 @internalsref{NoteHead} object. To make the letters readable, it has
2053 to be printed in a large font size. To print with a larger font, see
2054 @ref{Setting global staff size}.
2058 @cindex @code{\setEasyHeads}
2059 @code{\setEasyHeads}
2062 @node Analysis brackets
2063 @subsection Analysis brackets
2065 @cindex phrasing brackets
2066 @cindex musicological analysis
2067 @cindex note grouping bracket
2069 Brackets are used in musical analysis to indicate structure in musical
2070 pieces. LilyPond supports a simple form of nested horizontal
2071 brackets. To use this, add the @internalsref{Horizontal_bracket_engraver}
2072 to @internalsref{Staff} context. A bracket is started with
2073 @code{\startGroup} and closed with @code{\stopGroup}
2075 @lilypond[quote,ragged-right,verbatim]
2078 c4\startGroup\startGroup
2081 c4\stopGroup\stopGroup
2085 \Staff \consists "Horizontal_bracket_engraver"
2091 Program reference: @internalsref{HorizontalBracket}.
2093 Examples: @inputfileref{input/@/regression,note@/-group@/-bracket@/.ly}.
2096 @node Coloring objects
2097 @subsection Coloring objects
2099 Individual objects may be assigned colors. You may use the
2100 color names listed in the @ref{List of colors}.
2102 @lilypond[quote,ragged-right,verbatim,fragment,relative=1]
2103 \override NoteHead #'color = #red
2105 \override NoteHead #'color = #(x11-color 'LimeGreen)
2107 \override Stem #'color = #blue
2111 The full range of colors defined for X11 can be accessed by using the
2112 scheme function x11-color. The function takes one argument that can be a
2116 \override Beam #'color = #(x11-color 'MediumTurquoise)
2122 \override Beam #'color = #(x11-color "MediumTurquoise")
2125 The first form is quicker to write and is more efficient. However, using
2126 the second form it is possible to access X11 colors by the multi-word
2130 \override Beam #'color = #(x11-color "medium turquoise")
2133 If x11-color cannot make sense of the parameter then the color returned
2134 defaults to black. It should be obvious from the final score that
2137 This example, illustrates the use of x11-color. Notice that the stem
2138 color remains black after being set to (x11-color 'Boggle), which is
2139 deliberate nonsense.
2141 @lilypond[quote,ragged-right,verbatim]
2143 \override Staff.StaffSymbol #'color = #(x11-color 'SlateBlue2)
2144 \set Staff.instrument = \markup {
2145 \with-color #(x11-color 'navy) "Clarinet"
2149 \override Beam #'color = #(x11-color "medium turquoise")
2151 \override NoteHead #'color = #(x11-color "LimeGreen")
2153 \override Stem #'color = #(x11-color 'Boggle)
2161 Appendix: @ref{List of colors}.
2165 Not all x11 colors are distinguishable in a web browser. For web use
2166 normal colors are recommended.
2168 An x11 color is not necessarily exactly the same shade as a similarly
2172 @node Automatic notation
2173 @section Automatic notation
2175 This section describes how to change the way that accidentals and
2176 beams are automatically displayed.
2178 FIXME: this might get moved into Changing Defaults. Please send
2179 opinions to lilypond-devel. Thanks! :)
2182 * Automatic accidentals::
2183 * Setting automatic beam behavior::
2186 @node Automatic accidentals
2187 @subsection Automatic accidentals
2188 @cindex Automatic accidentals
2190 Common rules for typesetting accidentals have been placed in a
2191 function. This function is called as follows
2193 @cindex @code{set-accidental-style}
2195 #(set-accidental-style 'STYLE #('CONTEXT#))
2198 The function can take two arguments: the name of the accidental style,
2199 and an optional argument that denotes the context that should be
2200 changed. If no context name is supplied, @code{Staff} is the default,
2201 but you may wish to apply the accidental style to a single @code{Voice}
2204 The following accidental styles are supported
2207 This is the default typesetting behavior. It corresponds
2208 to 18th century common practice: Accidentals are
2209 remembered to the end of the measure in which they occur and
2210 only on their own octave.
2213 The normal behavior is to remember the accidentals on
2214 Staff-level. This variable, however, typesets accidentals
2215 individually for each voice. Apart from that, the rule is similar to
2218 As a result, accidentals from one voice do not get canceled in other
2219 voices, which is often an unwanted result
2221 @lilypond[quote,ragged-right,relative=1,fragment,verbatim]
2223 #(set-accidental-style 'voice)
2230 The @code{voice} option should be used if the voices
2231 are to be read solely by individual musicians. If the staff is to be
2232 used by one musician (e.g., a conductor) then
2233 @code{modern} or @code{modern-cautionary}
2234 should be used instead.
2237 @cindex @code{modern} style accidentals
2238 This rule corresponds to the common practice in the 20th century. This rule
2239 prints the same accidentals as @code{default}, but temporary
2240 accidentals also are canceled in other octaves. Furthermore,
2241 in the same octave, they also get canceled in the following
2244 @lilypond[quote,ragged-right,fragment,verbatim]
2245 #(set-accidental-style 'modern)
2246 cis' c'' cis'2 | c'' c'
2249 @item @code{modern-cautionary}
2250 @cindex @code{modern-cautionary}
2251 This rule is similar to @code{modern}, but the ``extra'' accidentals
2252 (the ones not typeset by @code{default}) are typeset as cautionary
2253 accidentals. They are printed in reduced size or with parentheses
2254 @lilypond[quote,ragged-right,fragment,verbatim]
2255 #(set-accidental-style 'modern-cautionary)
2256 cis' c'' cis'2 | c'' c'
2259 @cindex @code{modern-voice}
2261 This rule is used for multivoice accidentals to be read both by musicians
2262 playing one voice and musicians playing all voices. Accidentals are
2263 typeset for each voice, but they @emph{are} canceled across voices in
2264 the same @internalsref{Staff}.
2266 @cindex @code{modern-voice-cautionary}
2267 @item modern-voice-cautionary
2268 This rule is the same as @code{modern-voice}, but with the extra
2269 accidentals (the ones not typeset by @code{voice}) typeset
2270 as cautionaries. Even though all accidentals typeset by
2271 @code{default} @emph{are} typeset by this variable,
2272 some of them are typeset as cautionaries.
2275 @cindex @code{piano} accidentals
2276 This rule reflects 20th century practice for piano notation. Very similar to
2277 @code{modern} but accidentals also get canceled
2278 across the staves in the same @internalsref{GrandStaff} or
2279 @internalsref{PianoStaff}.
2281 @item piano-cautionary
2282 @cindex @code{#(set-accidental-style 'piano-cautionary)}
2283 Same as @code{#(set-accidental-style 'piano)} but with the extra
2284 accidentals typeset as cautionaries.
2287 @cindex @code{no-reset} accidental style
2288 This is the same as @code{default} but with accidentals lasting
2289 ``forever'' and not only until the next measure
2290 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2291 #(set-accidental-style 'no-reset)
2296 This is sort of the opposite of @code{no-reset}: Accidentals
2297 are not remembered at all---and hence all accidentals are
2298 typeset relative to the key signature, regardless of what was
2301 @lilypond[quote,ragged-right,fragment,verbatim,relative=1]
2302 #(set-accidental-style 'forget)
2303 \key d\major c4 c cis cis d d dis dis
2310 Program reference: @internalsref{Accidental_engraver},
2311 @internalsref{Accidental}, and @internalsref{AccidentalPlacement}.
2316 Simultaneous notes are considered to be entered in sequential
2317 mode. This means that in a chord the accidentals are typeset as if the
2318 notes in the chord happened once at a time - in the order in which
2319 they appear in the input file.
2321 This is a problem when accidentals in a chord depend on each other,
2322 which does not happen for the default accidental style. The problem
2323 can be solved by manually inserting @code{!} and @code{?} for the
2327 @node Setting automatic beam behavior
2328 @subsection Setting automatic beam behavior
2330 @cindex @code{autoBeamSettings}
2331 @cindex @code{(end * * * *)}
2332 @cindex @code{(begin * * * *)}
2333 @cindex automatic beams, tuning
2334 @cindex tuning automatic beaming
2336 @c [TODO: use \applyContext]
2338 In normal time signatures, automatic beams can start on any note but can
2339 only end in a few positions within the measure: beams can end on a beat,
2340 or at durations specified by the properties in
2341 @code{autoBeamSettings}. The properties in @code{autoBeamSettings}
2342 consist of a list of rules for where beams can begin and end. The
2343 default @code{autoBeamSettings} rules are defined in
2344 @file{scm/@/auto@/-beam@/.scm}.
2346 In order to add a rule to the list, use
2348 #(override-auto-beam-setting '(be p q n m) a b [context])
2353 @item @code{be} is either "begin" or "end".
2355 @item @code{p/q} is the duration of the note for which you want
2356 to add a rule. A beam is considered to have the duration of its
2357 shortest note. Set @code{p} and @code{q} to @code{'*'} to
2358 have this apply to any beam.
2360 @item @code{n/m} is the time signature to which
2361 this rule should apply. Set @code{n} and @code{m} to @code{'*'}
2362 to have this apply in any time signature.
2364 @item @code{a/b} is the position in the bar at which the beam should begin/end.
2366 @item @code{context} is optional, and it specifies the context at which
2367 the change should be made. The default is @code{'Voice}.
2368 @code{#(score-override-auto-beam-setting '(A B C D) E F)} is equivalent to
2369 @code{#(override-auto-beam-setting '(A B C D) E F 'Score)}.
2373 For example, if automatic beams should always end on the first quarter
2377 #(override-auto-beam-setting '(end * * * *) 1 4)
2380 You can force the beam settings to only take effect on beams whose shortest
2381 note is a certain duration
2383 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2385 #(override-auto-beam-setting '(end 1 16 * *) 1 16)
2387 a32 a a a a16 a a a a a |
2388 #(override-auto-beam-setting '(end 1 32 * *) 1 16)
2389 a32 a a a a16 a a a a a |
2392 You can force the beam settings to only take effect in certain time
2395 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2397 #(override-auto-beam-setting '(end * * 5 8) 2 8)
2405 You can also remove a previously set beam-ending rule by using
2408 #(revert-auto-beam-setting '(be p q n m) a b [context])
2412 be, p, q, n, m, a, b and context are the same as above. Note that the
2413 default rules are specified in @file{scm/@/auto@/-beam@/.scm},
2414 so you can revert rules that you did not explicitly create.
2416 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2418 a16 a a a a a a a a a a a a a a a
2419 #(revert-auto-beam-setting '(end 1 16 4 4) 1 4)
2420 a16 a a a a a a a a a a a a a a a
2423 The rule in a revert-auto-beam-setting statement must exactly match the
2424 original rule. That is, no wildcard expansion is taken into account.
2426 @lilypond[quote,fragment,ragged-right,verbatim,relative=2]
2428 #(override-auto-beam-setting '(end 1 16 1 4) 1 8)
2430 #(revert-auto-beam-setting '(end 1 16 * *) 1 8) % this won't revert it!
2432 #(revert-auto-beam-setting '(end 1 16 1 4) 1 8) % this will
2438 @c TODO: old material -- not covered by above stuff, I think.
2439 If automatic beams should end on every quarter in 5/4 time, specify
2442 #(override-auto-beam-setting '(end * * * *) 1 4 'Staff)
2443 #(override-auto-beam-setting '(end * * * *) 1 2 'Staff)
2444 #(override-auto-beam-setting '(end * * * *) 3 4 'Staff)
2445 #(override-auto-beam-setting '(end * * * *) 5 4 'Staff)
2449 The same syntax can be used to specify beam starting points. In this
2450 example, automatic beams can only end on a dotted quarter note
2452 #(override-auto-beam-setting '(end * * * *) 3 8)
2453 #(override-auto-beam-setting '(end * * * *) 1 2)
2454 #(override-auto-beam-setting '(end * * * *) 7 8)
2456 In 4/4 time signature, this means that automatic beams could end only on
2457 3/8 and on the fourth beat of the measure (after 3/4, that is 2 times
2458 3/8, has passed within the measure).
2460 @cindex automatic beam generation
2462 @cindex @code{autoBeaming}
2465 If beams are used to indicate melismata in songs, then automatic
2466 beaming should be switched off with @code{\autoBeamOff}.
2471 @cindex @code{\autoBeamOff}
2472 @code{\autoBeamOff},
2473 @cindex @code{\autoBeamOn}
2479 If a score ends while an automatic beam has not been ended and is
2480 still accepting notes, this last beam will not be typeset at all. The
2481 same holds polyphonic voices, entered with @code{<< @dots{} \\ @dots{}
2482 >>}. If a polyphonic voice ends while an automatic beam is still
2483 accepting notes, it is not typeset.